Histórias Proibidas

Just another movie that strives for well, nothing. It seems like the will to actually tell something was replaced by the will to get another award. For me this is just another Robert Altman wannabe at work. But he just can't get the story straight. Deconstructivism sometimes seems, as well as irony, to be used when you are to insecure to tell the whole story. It takes courage to make a straight story (like Lynch), based on really good storytelling. By making the movie a bit arty and confusing you're not putting your ass on the line. You only put the responsibility in the hands of the audience. Sometimes it works, sometimes it don't. This time didn't work, for me at least.

Furthermore I didn't really see how the two parts interacted in a interesting way. But maybe I've forgotten my Derrida...

At first viewing I though this was the weakest of director Todd Solondz films, however like all of his works, it's impossible to forget once seen. Todd Solondze absorbed criticisms about exploitation, showing misery for misery's sake, and just generally being a "meanie", and turned them into the cinematic equivalent of a "dis song"(rap term for song made specifically as an attack or "beef" with another rapper), with Solondz against critics, carefully trying to explain the notions of "Storytelling". Our first story deals with sex, political correctness, race, and fiction writing, as a young liberal college girl has unpleasant and ironic sexual experience with her Black writing professor. Our second well...with the same subjects just this time with non-fiction in place of fiction. Here Solondz shows us yet another dysfunctional upper middle class Jewish family in chaos, but this time as a "documentary", which shows us the pathetic film maker, the cruel or otherwise ignorant family, and the audience who laughs and scoffs, at it all.

This is a rare film, because it's a film maker addressing his critiques, himself, and his audience all at once. And it has plenty of Solondz trade mark cringe scenes, that veer drastically from comic to dramatic in a matter of breaths. The results are absorbing but like all Solondz it leaves a bad taste in your mouth, and makes you honestly question your own moral compass. They say satire is dead if the audience cannot be shocked, but it's also dead if the audience cannot be shamed, in the days where South Park and Family Guy, are on non cable TV any afternoon (l love both shows), shock and shame are concepts so familiar they've lost some of their power. Thankfully just when we've seen it all and were sure that nothing matters and nothing can surprise, startle, or offend us, Todd Solondz will be there to show things can always get worse.

While I did find this film pretty interesting it still seems to be lacking something compared to his previous two efforts. It doesn't have the emotional impact of "Welcome to the Dollhouse" or the sharpness and coherency of "Happiness" and both of those films each had a standout performance in them and this one does not, although Selma Blair is pretty good. The two parts "Fiction" and "Non-fiction" just seem to be missing some element. Its not that we don't understand what he's doing and what he's trying to say but it just doesn't have the closure that seems to be needed. The first part "Fiction" is shorter and just seems to end without allowing what it had just conjured up to play out. I do like Todd Solondz and the way he writes his films in general. He possesses a very dark and cynical view of both political correctness and the suburbs. I also think it was important for Selma Blair to be in this film. Her career seemed to be playing the stars friend or appearing in teen comedies. Here she plays a lead role and a somewhat controversial one at that in what might be her first nude scenes. I think its good for her career to be in something serious like this. I know I'll think of her in a different light from now on. Not anywhere near Solondz best films but interesting enough to recommend and anyone who likes Solondz (like myself) should see it.

Todd Solondz has a rare skill. He can find humor in the darkest, most depressing subject matter. In Storytelling, he answers his own critics who tell him that certain subjects should be treated with kid gloves and not made fun of. In this film, he makes fun of disabilities, race, death...all the good stuff.

The first 30 minutes of the film focus on a creative writing student (Selma Blair) who's having a hard time finding inspiration. After breaking up with her disabled boyfriend, she had a fling with her African American professor and uses the experience as a basis for her next story.

The rest of the film is about a failed actor (Paul Giametti) turned documentarian who decides to make a high school slacker and his family the focus of his next project. It becomes obvious that the documentarian is the stand in for Solondz himself and he gets to answer the critics who call his work mean spirited or like a freak show where he's making fun of his subjects.

In classic Solondz tradition, there are tons of moments you'll feel bad for laughing at, but you won't feel too bad, because this is one of his best works and it's not as if he's not telling the truth.

Probably Director Todd Solondz' most mature work to date, Storytelling is split into two parts `Fiction' and `Non-Fiction' - yet similar themes underlie both and pose questions about what we call reality when it comes to prejudice and taboo subjects. Whilst in previous attempts (such as `Happiness') Solondz' work has merely been controversial, in this film he berates political correctness more accurately and more entertainingly. It exposes ridiculous attitudes in the name of political correctness, whether it is the student with an awful essay who almost escapes criticism because he has cerebral palsy, or a black teacher who gets away with being a pervert because his victim doesn't want to entertain thoughts of racism. Nothing is sacred: Jews and the Holocaust also come in for merciless examination. But part of the film involves the story of a `documentary' being made within the main story, by an exploitative screwed up filmmaker who wants to do his own thing in the name of art, so in this sense, Storytelling even turns on itself and questions the validity of using the subject matter that it does. A controversial, worthy, and very entertaining film that stretches your ability to make moral judgements within a convincingly coherent framework.